This essay is a reading of Daphne du Maurier’s 1938 novel Rebecca from a queer theoretical perspective. The analysis discusses the fluidity of the character Rebecca, who despite being dead haunts almost every page. She embodies both masculine and feminine traits and is suggested to have had a sexual relationship with her housekeeper. Furthermore, this same-sex desire plays an important part in the sexual awakening of the novel’s young protagonist, who develops an obsession with Rebecca. The essay also looks at Manderley, the gothic estate where most of the plot takes place. Manderley is a place for both heteronormative oppression and transgression. Rebecca is a modern gothic novel and the gothic will therefore be an important part of the analysis.

This thesis traces the history and development of the facilities for electronic music in the UK. It covers the early attempts to experiment with electronic music and create studios in less than ideal circumstances and the subsequent bids to create a national centre. It also covers some elements of worldwide development of electronic music and sound recording, in particular those which occurred before 1965. The thesis calls upon non-traditional sources and the author was able to access many documents in the personal archives of electronic music pioneers. There is substantial reference to committees and societies for electronic music and their effects on the development of facilities for electronic music in the UK. Some of the early pioneers are studied in detail; these include Daphne Oram, Tristram Cary and Hugh Davies. Unprecedented access to information on Hugh Davies and Daphne Oram was provided by the family estates of these recently deceased composers. This allowed the author to gain valuable insight into the working patterns and methodology of these composers. Many references to later pioneers such as Trevor Wishart are also made but the focus remains on the facilities available to composers rather than the composers and their works.

"It may be said that one of the most important characteristics of the professional librarian is his familiarity with bibliographic methods. This is due to the fact that the librarian is responsible for the accessibility of the knowledge found within the library's collections, and that in carrying out his responsibility, he must utilize bibliography. As one authority has put it, bibliography leads the inquirer, 'through channels as well-defined as are the entrances to harbors, to the particular record or records of communication which contain the information or other matter which he seeks.' Because it was felt that she needed practice in acquiring skill in this 'art of communication,' the writer decided to undertake as a graduate paper a study which would involve bibliographic investigation, a study in the form of a bio-bibliography. In choosing an author as the subject of the bio-bibliography, it was necessary to select one who might be claimed as being within the province of librarianship. Miss Daphne du Maurier, the prominent English novelist, was chosen as the subject of the paper for several reasons"--Introduction. / Typescript. / "August, 1956." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Ruth H. Rockwood, Professor Directing Paper. / Includes bibliographical references (leaves 72-74).

Syftet med denna studie är att studera hur Du Mauriers roman Rebecca och filmatiseringen baserad på denna skiljer sig åt med inriktning på dialogerna. Genom att tillämpa en stilanalys från Hellspong kommer stildragen från respektive dialog påvisas och kompareras. Analysen visar att dialogerna är väldigt lika vad gäller stildrag och att dialogernas funktion skiljer sig åt. Resultatet antyder dels att det krävs olika stilar för att förmedla olika teman, dels att stil inte är bunden till innehållet samt att medierna påverkar dialogernas funktion. Slutsatsen är att stilen inte går att ändra på om rätt historia ska förmedlas, oavsett vilket medium det rör sig om, det handlar rättare sagt om att anpassa stilen till sammanhanget utan att ta bort det essentiella. Vidare kan denna studie påvisa möjliga kännetecken för dialogformen där bland annat stildragen verbal och dynamisk ingår.

Using similar disjunctive writing styles, Michael Ondaatje and Daphne Marlatt create characters who defy stability, consistency, and predictability. Both authors undermine the notion that the self is a unified entity determined to resist an ambiguity in the search for univocal meaning. Rather, the worlds inhabited by Buddy Bolden, Lalla Dickman, Mervyn Ondaatje, and Ina as found in Coming Through Slaughter, Running in the Family, and Ana Historic subscribe to uniformity by valourizing social and textual conventions. Within these contexts of closure, all characters succumb to some degree of hysteria, madness, or death. In Ondaatje's novels scandal becomes a release from the monotony of a unified self, while in Ana Historic Annie Anderson's continual displacement of pronouns effectively suspends female identity. Ondaatje and Marlett fictionalize the post-structuralist work of Roland Barthes in "The Death of the Author" in that both authors create characters whose boundaries are never fixed, but always shifting according to the contexts in which they find themselves. On this basis the self as embodied in the pronoun "I" contains not a set persona, but a network of competing voices. In the final chapter of this thesis, I examine the implications for authorship which Ondaatje and Marlatt raise in their contention that the self exists without a central core. During moments of autobiography, Ondaatje and Marlatt implicitly contest the defacement of their signatures on novels which call for an obfuscation of identity, but arrest that movement when it folds back on the author's domain--the outer cover of the text. Because Ondaatje and Marlett elide themselves with their characters, they, too, are pulled into a vertigo of language that knows not identity, but the endless positing and erasure of tropes. / Thesis / Master of Arts (MA)

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2006. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 171-178, 37-44).

Denna kandidatuppsats utforskar de tre skräcknovellerna ”Fåglarna” (1952), ”De blå linserna” (1959) och ”Äppelträdet” (1952) av Daphne du Maurier ur ett ekogotiskt perspektiv. Genom att använda begreppet ekogotik i kombination med teorier så som Simon C. Estoks ekofobi och Sigmund Freuds det kusliga undersöker denna uppsats relationer mellan mänskligt och icke-mänskligt, samt hur naturen kan användas för att framkalla känslor av det kusliga. Resultatet av analyserna visar bland annat att naturen är ett utmärkt verktyg att använda för att synliggöra det kusliga då den är ständigt närvarande i våra liv, och därför till synes också ”osynlig” för oss. Resultatet visar också att omkullkastandet av den antropocentriska relationen mellan mänskligt och icke-mänskligt är av stor vikt för novellernas förmåga att framkalla skräck.

This study examines the portrayal of the woman as monstrous in Daphne du Maurier’s short stories “The Apple Tree” and “The Blue Lenses” and investigates the abject emotions that female bodies induce within the main characters. The study also contrasts the habitual, objectifying gaze of the male focalizer with the reluctant gaze forced upon the female focalizer through a pair of lenses, argued here to represent the patriarchal suppression of woman, as the male gaze is key for mediating the abject in du Maurier’s stories. Additionally, the association of the natural world with the female body is discussed, as the subjugation of nature and women are closely connected in a patriarchal society, and these are both regarded as abject in du Maurier’s stories. It is concluded that gender is elemental to whether the main characters embrace or reject the abject feelings originating within themselves.

Cette thèse explore les connections entre la littérature canadienne contemporaine féminine et le féminisme transnational. Le « transnational » est une catégorie qui est de plus en plus importante dans la critique littéraire canadienne, mais elle n’est pas souvent evoquée en lien avec le féminisme. À travers cette thèse, je développe une méthodologie de lecture féministe basée sur le féminisme transnational. Cette méthodologie est appliquée à la littérature canadienne féminine; parallèlement, cette littérature participe à la définition et à l’élaboration des concepts féministes transnationaux tels que la complicité, la collaboration, le silence, et la différence. De plus, ma méthodologie participe à la recontextualisation de certains textes et moments dans l’histoire de la littérature canadienne, ce qui permet la conceptualisation d’une généalogie de l’expression féministe anti-essentialiste dans la littérature canadienne. J’étudie donc des textes de Daphne Marlatt, Dionne Brand, et Suzette Mayr, ainsi que le périodique Tessera et les actes du colloque intitulé Telling It, une conférence qui a eu lieu en 1988. Ces textes parlent de la critique du colonialisme et du nationalisme, des identités post-coloniales et diasporiques, et des possibilités de la collaboration féministe de traverser des frontières de toutes sortes. Dans le premier chapitre, j’explique ma méthodologie en démontrant que le périodique féministe bilingue Tessera peut être lu en lien avec le féminisme transnational. Le deuxième chapitre s’attarde à la publication editée par le collectif qui a été formé à la suite de la conférence Telling It. Je situe Telling It dans le contexte des discussions sur les différences qui ont eu lieu dans le féminisme nord-américan des dernières décennies. Notamment, mes recherches sur Telling It sont fondées sur des documents d’archives peu consultés qui permettent une réflexion sur les silences qui peuvent se cacher au centre du travail collaboratif. Le trosième chapitre est constitué d’une lecture proche du texte multi-genre « In the Month of Hungry Ghosts, » écrit par Daphne Marlatt en 1979. Ce texte explore les connexions complexes entre le colonialisme, le postcolonialisme, la complicité et la mondialisation. Le suject du quatrième chapitre est le film Listening for Something… (1994) qui découle d’une collaboration féministe transnationale entre Dionne Brand et Adrienne Rich. Pour terminer, le cinquième chapitre explore les liens entre le transnational et le national, la région – et le monstrueux, dans le contexte du roman Venous Hum (2004) de Suzette Mayr. Ces lectures textuelles critiques se penchent toutes sur la question de la représentation de la collaboration féministe à travers les différences – question essentielle à l’action féministe transnationale. Mes recherche se trouvent donc aux intersections de la littérature canadienne, la théorie féministe contemporaine, les études postcoloniales et la mondialisation. Les discussions fascinantes qui se passent au sein de la théorie transnationale féministe sont pertinentes à ces intersections et de plus, la littérature contemporaine féminine au Canada offre des interventions importantes permettant d’imaginer la collaboration féministe transnationale. / This dissertation explores connections between contemporary Canadian women’s writing and transnational feminism. The category of the transnational is increasingly important within Canadian literary criticism, but it is infrequently evoked in relation to feminism. Throughout this thesis, I develop a transnational feminist reading methodology that can be brought to bear on Canadian women’s writing, even as the literature itself participates in and nuances transnational feminist mobilizations of concepts such as complicity, collaboration, silence, and difference. Furthermore, my transnational feminist reading strategy provides a method for the rehistoricization of certain texts and moments in Canadian women’s writing that further allows scholars to trace a genealogy of anti-essentialist feminist expression in Canadian literature. To this end, I read texts by Daphne Marlatt, Dionne Brand, and Suzette Mayr, alongside Tessera, a collectively-edited journal, and conference proceedings from the 1988 Telling It conference; these texts speak to national and colonial critique, post-colonial and diasporic identities, and the potentials of feminist collaboration across various borders. In the first chapter, I situate my reading methodology by arguing for a transnational feminist understanding of Tessera, a bilingual feminist journal that began publishing in 1984. My second chapter examines the collectively-edited publication that emerged from Telling It in the context of North American feminist evocations of difference in recent decades. Notably, my research on Telling It benefits from rarely-accessed archival material that grounds my discussion of the gaps and silences of collective work. In my third chapter, I perform a close reading of Daphne Marlatt’s 1979 multi-genre text “In the Month of Hungry Ghosts” as it explores the complex connections between colonialism, post-colonialism, complicity and globalization. The subject of my fourth chapter is the 1994 film Listening for Something…, a transnational feminist collaboration between Dionne Brand and Adrienne Rich. Finally, my fifth chapter discusses the place of the transnational in relation to the regional, the national – and the monstrous in the context of Suzette Mayr’s Venous Hum. In all of these close textual readings, my dissertation asks how Canadian women writers represent, theorize, and critique the kinds of collaboration across differences that lie at the heart of transnational feminist action. My research is therefore located at the crossroads of Canadian literature, contemporary feminist theory, and postcolonial and globalization studies. The vibrant field of transnational feminist theory is relevant to this disciplinary intersection and, furthermore, contemporary Canadian women’s writing provides important interventions from which to imagine transnational feminist collaboration.

Cette thèse explore les connections entre la littérature canadienne contemporaine féminine et le féminisme transnational. Le « transnational » est une catégorie qui est de plus en plus importante dans la critique littéraire canadienne, mais elle n’est pas souvent evoquée en lien avec le féminisme. À travers cette thèse, je développe une méthodologie de lecture féministe basée sur le féminisme transnational. Cette méthodologie est appliquée à la littérature canadienne féminine; parallèlement, cette littérature participe à la définition et à l’élaboration des concepts féministes transnationaux tels que la complicité, la collaboration, le silence, et la différence. De plus, ma méthodologie participe à la recontextualisation de certains textes et moments dans l’histoire de la littérature canadienne, ce qui permet la conceptualisation d’une généalogie de l’expression féministe anti-essentialiste dans la littérature canadienne. J’étudie donc des textes de Daphne Marlatt, Dionne Brand, et Suzette Mayr, ainsi que le périodique Tessera et les actes du colloque intitulé Telling It, une conférence qui a eu lieu en 1988. Ces textes parlent de la critique du colonialisme et du nationalisme, des identités post-coloniales et diasporiques, et des possibilités de la collaboration féministe de traverser des frontières de toutes sortes. Dans le premier chapitre, j’explique ma méthodologie en démontrant que le périodique féministe bilingue Tessera peut être lu en lien avec le féminisme transnational. Le deuxième chapitre s’attarde à la publication editée par le collectif qui a été formé à la suite de la conférence Telling It. Je situe Telling It dans le contexte des discussions sur les différences qui ont eu lieu dans le féminisme nord-américan des dernières décennies. Notamment, mes recherches sur Telling It sont fondées sur des documents d’archives peu consultés qui permettent une réflexion sur les silences qui peuvent se cacher au centre du travail collaboratif. Le trosième chapitre est constitué d’une lecture proche du texte multi-genre « In the Month of Hungry Ghosts, » écrit par Daphne Marlatt en 1979. Ce texte explore les connexions complexes entre le colonialisme, le postcolonialisme, la complicité et la mondialisation. Le suject du quatrième chapitre est le film Listening for Something… (1994) qui découle d’une collaboration féministe transnationale entre Dionne Brand et Adrienne Rich. Pour terminer, le cinquième chapitre explore les liens entre le transnational et le national, la région – et le monstrueux, dans le contexte du roman Venous Hum (2004) de Suzette Mayr. Ces lectures textuelles critiques se penchent toutes sur la question de la représentation de la collaboration féministe à travers les différences – question essentielle à l’action féministe transnationale. Mes recherche se trouvent donc aux intersections de la littérature canadienne, la théorie féministe contemporaine, les études postcoloniales et la mondialisation. Les discussions fascinantes qui se passent au sein de la théorie transnationale féministe sont pertinentes à ces intersections et de plus, la littérature contemporaine féminine au Canada offre des interventions importantes permettant d’imaginer la collaboration féministe transnationale. / This dissertation explores connections between contemporary Canadian women’s writing and transnational feminism. The category of the transnational is increasingly important within Canadian literary criticism, but it is infrequently evoked in relation to feminism. Throughout this thesis, I develop a transnational feminist reading methodology that can be brought to bear on Canadian women’s writing, even as the literature itself participates in and nuances transnational feminist mobilizations of concepts such as complicity, collaboration, silence, and difference. Furthermore, my transnational feminist reading strategy provides a method for the rehistoricization of certain texts and moments in Canadian women’s writing that further allows scholars to trace a genealogy of anti-essentialist feminist expression in Canadian literature. To this end, I read texts by Daphne Marlatt, Dionne Brand, and Suzette Mayr, alongside Tessera, a collectively-edited journal, and conference proceedings from the 1988 Telling It conference; these texts speak to national and colonial critique, post-colonial and diasporic identities, and the potentials of feminist collaboration across various borders. In the first chapter, I situate my reading methodology by arguing for a transnational feminist understanding of Tessera, a bilingual feminist journal that began publishing in 1984. My second chapter examines the collectively-edited publication that emerged from Telling It in the context of North American feminist evocations of difference in recent decades. Notably, my research on Telling It benefits from rarely-accessed archival material that grounds my discussion of the gaps and silences of collective work. In my third chapter, I perform a close reading of Daphne Marlatt’s 1979 multi-genre text “In the Month of Hungry Ghosts” as it explores the complex connections between colonialism, post-colonialism, complicity and globalization. The subject of my fourth chapter is the 1994 film Listening for Something…, a transnational feminist collaboration between Dionne Brand and Adrienne Rich. Finally, my fifth chapter discusses the place of the transnational in relation to the regional, the national – and the monstrous in the context of Suzette Mayr’s Venous Hum. In all of these close textual readings, my dissertation asks how Canadian women writers represent, theorize, and critique the kinds of collaboration across differences that lie at the heart of transnational feminist action. My research is therefore located at the crossroads of Canadian literature, contemporary feminist theory, and postcolonial and globalization studies. The vibrant field of transnational feminist theory is relevant to this disciplinary intersection and, furthermore, contemporary Canadian women’s writing provides important interventions from which to imagine transnational feminist collaboration.